# The Last Time I Saw Paris

The Last Time I Saw Paris is a 1954 American Technicolor film made by Metro-Goldwyn-Mayer. It is loosely based on F. Scott Fitzgerald's 1930 short story "Babylon Revisited." It was directed by Richard Brooks, produced by Jack Cummings and filmed on locations in Paris and the MGM backlot. The screenplay was by Julius J. Epstein, Philip G. Epstein and Richard Brooks.
The film starred Elizabeth Taylor and Van Johnson in his last role for MGM, with Walter Pidgeon, Donna Reed, Eva Gabor, Kurt Kasznar, George Dolenz, Sandy Descher, Odette, and Roger Moore in his Hollywood debut. The film's title song, by composer Jerome Kern and lyricist Oscar Hammerstein II, was already a classic when the movie was made and inspired the movie's title. Although the song had already won an Oscar after its film debut in 1941's Lady Be Good, it is featured much more prominently in The Last Time I Saw Paris. It can be heard in many scenes either being sung by Odette or being played as an instrumental.

## Plot

As World War II ends in Europe, Stars and Stripes journalist Charles Wills (Van Johnson) is on the streets of Paris, covering the celebrations. He suddenly is grabbed by a beautiful woman who kisses him and disappears. Charles follows the crowd to Café Dhingo and meets another pretty woman named Marion Ellswirth (Donna Reed). The mutual attraction is instant, and she invites him to join her father's celebration of the end of the war. Charles, Marion and her French suitor Claude Matine arrive at the Ellswirth household, and we find that the woman who had kissed Charles is Marion's younger sister Helen (Elizabeth Taylor).
Their father, James Ellswirth (Walter Pidgeon), had survived World War I and promptly joined the Lost Generation. Unlike most drifters, he never grew out of it, raising his two daughters to desire such a lifestyle. Helen takes after her father and uses her beauty to sustain a life of luxury even though they are broke. Marion goes the other way and looks for serious-minded and conventional young men such as Claude, an aspiring prosecutor, and Charles, the future novelist.
Charles and Helen start dating and fall in love. After Helen recovers from pneumonia, they get married and settle in Paris. Helen eventually has a daughter, Vickie. Marion, having lost Charles to Helen, marries Claude. Charles struggles to make ends meet with his meager salary, unsuccessfully works on his novels and looks after Vickie.
The barren oil fields in Texas that James had bought years before begin to produce. Charles, to whom James had given the oil fields as a dowry, quits his job, and Helen and James begin to host parties. Sudden wealth changes Helen, who becomes more responsible, and Charles parties his wealth away after quitting his newspaper job and having all his novels rejected by publishers. They also each start to pursue other interests: Helen flirts with handsome tennis player Paul Lane (Roger Moore), and Charles competes in a local Monte Carlo-to-Paris race.
After the race, Charles returns to Paris to find Helen sitting in Café Dhingo with Paul. A fight breaks out between Paul and Charles, and an angry Charles goes home and puts the chain on the door. Helen comes home and can't get in. She calls out to him, but Charles is in a drunken stupor. Helen walks all the way to her sister's in the snow and rain, catches pneumonia again and dies.
Marion petitions for and gets full custody of Vickie, and Charles returns home to America. A few years later, having straightened himself out, published a book, and stopped drinking excessively, Charles returns to Paris to persuade Marion to give Vickie back to him. He tells Marion he only has one drink a day now. Marion refuses, still feeling resentful towards his having fallen for Helen instead of her and for his involvement in Helen's death. Claude steps in and tells Marion that she is punishing Charles for his not realizing that Marion loved him and marrying Helen, and is taking away his own daughter.
Marion goes into Café Dhingo, on whose main wall is a big picture of Helen, to look for Charles who is gazing at the painting, and tells him that Helen would not have wanted him to be alone. Outside the cafe, Claude is with Vickie. The child runs to Charles, and Charles and the child walk away together.

## Cast

    Source: The New York Times
* Elizabeth Taylor as Helen Ellswirth
* Van Johnson as Charles Wills
* Walter Pidgeon as James Ellswirth
* Donna Reed as Marion Ellswirth
* Eva Gabor as Lorraine Quarl
* Kurt Kasznar as Maurice
* George Dolenz as Claude Matine
* Roger Moore as Paul
* Sandy Descher as Vicki
* Celia Lovsky as Mama
* Peter Leeds as Barney
* Dave Seville as Charlie
* John Doucette as Campbell
* Odette Myrtil as Singer
* Beatrice Miller as Grace (uncredited)
* Matt Moore as Englishman (uncredited)

## Background

In March 1940, independent film producer Lester Cowan purchased the screen rights to F. Scott Fitzgerald's December 1930 short story "Babylon Revisited" for $1,000. Known for producing the 1940 film My Little Chickadee starring W.C. Fields and Mae West, Cowan planned to develop the film with Harry Cohn's Columbia Studios.
In an unusual move, Cowan hired Fitzgerald himself to adapt his work for the screen at $500 per week, ultimately paying the financially struggling author a total of $5,000 (equivalent to $112,221 in 2024). Although this salary fell below Fitzgerald's usual studio rate, Cowan promised him a bonus if the film reached production.
Although initially wary of Cowan, Fitzgerald soon grew comfortable working with him, believing the independent film producer respected his talents as a writer. Despite the cut-rate pay, Fitzgerald devoted himself to the project, appreciating the chance to adapt one of his finest stories without any studio interference.
By August 1940, Fitzgerald completed his second draft, titled Cosmopolitan, and included an author's note warning that, like Rebecca or The Shop Around the Corner, the film adaptation should have no moral lessons whatsoever, leaving viewers to draw their own conclusions about the perils of excess in the Jazz Age.
At some point, Cowan and Fitzgerald sought Shirley Temple for the role of Charles' daughter. In July 1940, five months before his death, Fitzgerald discussed the screenplay with Temple and her mother. Temple recalled that Fitzgerald, a former alcoholic, consumed numerous Coca-Colas during the meeting. When Temple's mother and Cowan failed to agree on terms, the project stalled.
After Fitzgerald's death in December 1940, his screenplay adaptation failed to be produced, and Lester Cowan sold the screen rights to Metro-Goldwyn-Mayer. Fourteen years later, following the revival of Fitzgerald's popularity as an author in the wake of World War II, MGM hired Philip G. Epstein, Julius J. Epstein, and Richard Brooks to adapt the story for the 1954 film The Last Time I Saw Paris. They changed the setting to post-World War II Paris and the main character of Charles from an American businessman into an aspiring novelist.

## Reception

   Where Fitzgerald did it in a few words—in a few subtle phrases that evoked a reckless era of golden dissipation toward the end of the Twenties' boom—Richard Brooks, who directed this picture after polishing up an Epstein-brothers' script, has done it in a nigh two-hour assembly of bistro balderdash and lush, romantic scenes.
At the time of the film's release, Variety called it an "engrossing romantic drama." Bosley Crowther wrote "The story is trite. The motivations are thin. The writing is glossy and pedestrian. The acting is pretty much forced. Mr. Johnson as the husband is too bumptious when happy and too dreary when drunk; Miss Taylor as the wife is delectable, but she is also occasionally quite dull. Mr. Pidgeon is elaborately devilish, Sandra Descher as the child is over-cute, Donna Reed as the bitter sister is vapid and several others are in the same vein."
In 2011, The Time Out Film Guide said "Despite a very corny script from Julius and Philip Epstein, which borrows clichés from Casablanca and countless An American in Paris yarns, this remains an enjoyable, if heavy-handed, melodrama...Pidgeon steals the show as ... a penniless chancer who still manages to live the good life."
On Rotten Tomatoes, 78% of 9 critics' reviews are positive, with an average rating of 6.3/10.

## Box office

According to MGM records the film earned $2,635,000 in the U.S. and Canada and $2,305,000 in other markets, resulting in a profit of $980,000.

## Copyright

The film was released in 1954; however, there was an error with the Roman numerals in the copyright notice showing "MCMXLIV" (1944) instead of "MCMLIV" (1954), meaning the term of copyright started 10 years before the film was released. Thus, the normal 28-year copyright term ended just 18 years after the film was released, and MGM neglected to renew it presumably because it believed there was still 10 years left in the term. The film entered the public domain in the United States in 1972.